Chicana critical rhetoric: Recrafting la causa in Chicana movement discourse, 1970-1979

Frontiers

Volumn 25, Issue 1, 2004, Pages

  Dicochea, Perlita R ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 2942629356     PISSN: 01609009     EISSN: None     Source Type: Journal    
DOI: 10.1353/fro.2004.0032     Document Type: Review

References (60)

1. Chicano!: The History of the Mexican American Civil Rights Movement, VHS, co-produced by Gala Productions and the National Latino/a Communications Center in association with public television station KCET/Los Angeles, 1996. Alma M. Garcia, ed., Chicana Feminist Thought: The Basic Historical Writings (New York: Routledge, 1997). Dolores D. Bernal, "Grassroots Leadership Reconceptualized: Chicana Oral Histories and the 1968 East Los Angeles School Blowouts," Frontiers: A Journal of Women Studies 19:2 (1998): 113-42.1 adapt the concept "imaginary" from Emma Pérez's The Decolonial Imaginary: Writing Chicanas into History (Bloomington: Indiana University Press: 1999). The "patriarchal imaginary" refers to modern accounts of history that reinforce - and may exaggerate - patriarchal narratives.
2. Chicano!: The History of the Mexican American Civil Rights Movement, VHS, co-produced by Gala Productions and the National Latino/a Communications Center in association with public television station KCET/Los Angeles, 1996. Alma M. Garcia, ed., Chicana Feminist Thought: The Basic Historical Writings (New York: Routledge, 1997). Dolores D. Bernal, "Grassroots Leadership Reconceptualized: Chicana Oral Histories and the 1968 East Los Angeles School Blowouts," Frontiers: A Journal of Women Studies 19:2 (1998): 113-42.1 adapt the concept "imaginary" from Emma Pérez's The Decolonial Imaginary: Writing Chicanas into History (Bloomington: Indiana University Press: 1999). The "patriarchal imaginary" refers to modern accounts of history that reinforce - and may exaggerate - patriarchal narratives.
3. Chicano!: The History of the Mexican American Civil Rights Movement, VHS, co-produced by Gala Productions and the National Latino/a Communications Center in association with public television station KCET/Los Angeles, 1996. Alma M. Garcia, ed., Chicana Feminist Thought: The Basic Historical Writings (New York: Routledge, 1997). Dolores D. Bernal, "Grassroots Leadership Reconceptualized: Chicana Oral Histories and the 1968 East Los Angeles School Blowouts," Frontiers: A Journal of Women Studies 19:2 (1998): 113-42.1 adapt the concept "imaginary" from Emma Pérez's The Decolonial Imaginary: Writing Chicanas into History (Bloomington: Indiana University Press: 1999). The "patriarchal imaginary" refers to modern accounts of history that reinforce - and may exaggerate - patriarchal narratives.
4. Chicano!: The History of the Mexican American Civil Rights Movement, VHS, co-produced by Gala Productions and the National Latino/a Communications Center in association with public television station KCET/Los Angeles, 1996. Alma M. Garcia, ed., Chicana Feminist Thought: The Basic Historical Writings (New York: Routledge, 1997). Dolores D. Bernal, "Grassroots Leadership Reconceptualized: Chicana Oral Histories and the 1968 East Los Angeles School Blowouts," Frontiers: A Journal of Women Studies 19:2 (1998): 113-42.1 adapt the concept "imaginary" from Emma Pérez's The Decolonial Imaginary: Writing Chicanas into History (Bloomington: Indiana University Press: 1999). The "patriarchal imaginary" refers to modern accounts of history that reinforce - and may exaggerate - patriarchal narratives.
5. In her book From Out of the Shadows: Mexican Women in Twentieth-Century America (Oxford: Oxford University Press, 1998), Vicki L. Ruiz situates Mexicanas and Chicanas as agents in the making of history in public and private spaces, a process she calls "cultural coalescence" (xvi). In The Decolonial Imaginary, Pérez critiques historical accounts in Chicano studies that overlook women and thereby reinforce patriarchal narratives. The concept of "decolonial imaginary" acknowledges the in-between phases women experience while negotiating the rules of patriarchy and newfound independence. Jacqui M. Alexander and Chandra T. Mohanty, "Introduction, " in Feminist Genealogies, Colonial Legacies, Democratic Futures, ed. Alexander and Mohanty (New York: Routledge, 1997), xxviii-xxix.
6. In her book From Out of the Shadows: Mexican Women in Twentieth-Century America (Oxford: Oxford University Press, 1998), Vicki L. Ruiz situates Mexicanas and Chicanas as agents in the making of history in public and private spaces, a process she calls "cultural coalescence" (xvi). In The Decolonial Imaginary, Pérez critiques historical accounts in Chicano studies that overlook women and thereby reinforce patriarchal narratives. The concept of "decolonial imaginary" acknowledges the in-between phases women experience while negotiating the rules of patriarchy and newfound independence. Jacqui M. Alexander and Chandra T. Mohanty, "Introduction, " in Feminist Genealogies, Colonial Legacies, Democratic Futures, ed. Alexander and Mohanty (New York: Routledge, 1997), xxviii-xxix.
7. Raymie E. McKerrow, "Critical Rhetoric: Theory and Praxis," Communication Monographs 56 (1989): 91-111. Kent Ono and John M. Sloop, "The Critique of Vernacular Discourse," The Quarterly Journal of Speech 62:1 (1995): 19-46. "Chicana Feminist Movement" and "Chicana Movement" are used interchangeably to refer to Chicana feminism as it came of age during the 1960s and 1970s. In contrast, "Chicana/o Movement" refers to the dominant movement that was patriarchal in ideology, agenda, and organization. Chicana feminism is the everyday process of negotiating and manipulating multiple forces of hierarchy, including racism, sexism, classism, and homophobia through a Chicana cultural lens. See Ana Castillo, Massacre of the Dreamers (Albuquerque: University of New Mexico Press, 1994); Gloria Anzaldúa, Borderlands /La Frontera: The New Mestiza (New York: Women of Color Press, 1987); and Aida Hurtado, "The Politics of Sexuality," in Living Chicana Theory, ed. Carla Trujillo (Berkeley: Third Woman Press, 1998), 383-428. Chicana feminist studies focuses on Chicanas' lived experiences in the context of power dynamics that sustain and challenge inequality. See Adela de la Torre and Beatríz M. Pesquera, eds., Building with Our Hands: New Directions in Chicana Studies (Berkeley: University of California Press, 1993).
8. Raymie E. McKerrow, "Critical Rhetoric: Theory and Praxis," Communication Monographs 56 (1989): 91-111. Kent Ono and John M. Sloop, "The Critique of Vernacular Discourse," The Quarterly Journal of Speech 62:1 (1995): 19-46. "Chicana Feminist Movement" and "Chicana Movement" are used interchangeably to refer to Chicana feminism as it came of age during the 1960s and 1970s. In contrast, "Chicana/o Movement" refers to the dominant movement that was patriarchal in ideology, agenda, and organization. Chicana feminism is the everyday process of negotiating and manipulating multiple forces of hierarchy, including racism, sexism, classism, and homophobia through a Chicana cultural lens. See Ana Castillo, Massacre of the Dreamers (Albuquerque: University of New Mexico Press, 1994); Gloria Anzaldúa, Borderlands /La Frontera: The New Mestiza (New York: Women of Color Press, 1987); and Aida Hurtado, "The Politics of Sexuality," in Living Chicana Theory, ed. Carla Trujillo (Berkeley: Third Woman Press, 1998), 383-428. Chicana feminist studies focuses on Chicanas' lived experiences in the context of power dynamics that sustain and challenge inequality. See Adela de la Torre and Beatríz M. Pesquera, eds., Building with Our Hands: New Directions in Chicana Studies (Berkeley: University of California Press, 1993).
9. Raymie E. McKerrow, "Critical Rhetoric: Theory and Praxis," Communication Monographs 56 (1989): 91-111. Kent Ono and John M. Sloop, "The Critique of Vernacular Discourse," The Quarterly Journal of Speech 62:1 (1995): 19-46. "Chicana Feminist Movement" and "Chicana Movement" are used interchangeably to refer to Chicana feminism as it came of age during the 1960s and 1970s. In contrast, "Chicana/o Movement" refers to the dominant movement that was patriarchal in ideology, agenda, and organization. Chicana feminism is the everyday process of negotiating and manipulating multiple forces of hierarchy, including racism, sexism, classism, and homophobia through a Chicana cultural lens. See Ana Castillo, Massacre of the Dreamers (Albuquerque: University of New Mexico Press, 1994); Gloria Anzaldúa, Borderlands /La Frontera: The New Mestiza (New York: Women of Color Press, 1987); and Aida Hurtado, "The Politics of Sexuality," in Living Chicana Theory, ed. Carla Trujillo (Berkeley: Third Woman Press, 1998), 383-428. Chicana feminist studies focuses on Chicanas' lived experiences in the context of power dynamics that sustain and challenge inequality. See Adela de la Torre and Beatríz M. Pesquera, eds., Building with Our Hands: New Directions in Chicana Studies (Berkeley: University of California Press, 1993).
10. Raymie E. McKerrow, "Critical Rhetoric: Theory and Praxis," Communication Monographs 56 (1989): 91-111. Kent Ono and John M. Sloop, "The Critique of Vernacular Discourse," The Quarterly Journal of Speech 62:1 (1995): 19-46. "Chicana Feminist Movement" and "Chicana Movement" are used interchangeably to refer to Chicana feminism as it came of age during the 1960s and 1970s. In contrast, "Chicana/o Movement" refers to the dominant movement that was patriarchal in ideology, agenda, and organization. Chicana feminism is the everyday process of negotiating and manipulating multiple forces of hierarchy, including racism, sexism, classism, and homophobia through a Chicana cultural lens. See Ana Castillo, Massacre of the Dreamers (Albuquerque: University of New Mexico Press, 1994); Gloria Anzaldúa, Borderlands /La Frontera: The New Mestiza (New York: Women of Color Press, 1987); and Aida Hurtado, "The Politics of Sexuality," in Living Chicana Theory, ed. Carla Trujillo (Berkeley: Third Woman Press, 1998), 383-428. Chicana feminist studies focuses on Chicanas' lived experiences in the context of power dynamics that sustain and challenge inequality. See Adela de la Torre and Beatríz M. Pesquera, eds., Building with Our Hands: New Directions in Chicana Studies (Berkeley: University of California Press, 1993).
11. Raymie E. McKerrow, "Critical Rhetoric: Theory and Praxis," Communication Monographs 56 (1989): 91-111. Kent Ono and John M. Sloop, "The Critique of Vernacular Discourse," The Quarterly Journal of Speech 62:1 (1995): 19-46. "Chicana Feminist Movement" and "Chicana Movement" are used interchangeably to refer to Chicana feminism as it came of age during the 1960s and 1970s. In contrast, "Chicana/o Movement" refers to the dominant movement that was patriarchal in ideology, agenda, and organization. Chicana feminism is the everyday process of negotiating and manipulating multiple forces of hierarchy, including racism, sexism, classism, and homophobia through a Chicana cultural lens. See Ana Castillo, Massacre of the Dreamers (Albuquerque: University of New Mexico Press, 1994); Gloria Anzaldúa, Borderlands /La Frontera: The New Mestiza (New York: Women of Color Press, 1987); and Aida Hurtado, "The Politics of Sexuality," in Living Chicana Theory, ed. Carla Trujillo (Berkeley: Third Woman Press, 1998), 383-428. Chicana feminist studies focuses on Chicanas' lived experiences in the context of power dynamics that sustain and challenge inequality. See Adela de la Torre and Beatríz M. Pesquera, eds., Building with Our Hands: New Directions in Chicana Studies (Berkeley: University of California Press, 1993).
12. Raymie E. McKerrow, "Critical Rhetoric: Theory and Praxis," Communication Monographs 56 (1989): 91-111. Kent Ono and John M. Sloop, "The Critique of Vernacular Discourse," The Quarterly Journal of Speech 62:1 (1995): 19-46. "Chicana Feminist Movement" and "Chicana Movement" are used interchangeably to refer to Chicana feminism as it came of age during the 1960s and 1970s. In contrast, "Chicana/o Movement" refers to the dominant movement that was patriarchal in ideology, agenda, and organization. Chicana feminism is the everyday process of negotiating and manipulating multiple forces of hierarchy, including racism, sexism, classism, and homophobia through a Chicana cultural lens. See Ana Castillo, Massacre of the Dreamers (Albuquerque: University of New Mexico Press, 1994); Gloria Anzaldúa, Borderlands /La Frontera: The New Mestiza (New York: Women of Color Press, 1987); and Aida Hurtado, "The Politics of Sexuality," in Living Chicana Theory, ed. Carla Trujillo (Berkeley: Third Woman Press, 1998), 383-428. Chicana feminist studies focuses on Chicanas' lived experiences in the context of power dynamics that sustain and challenge inequality. See Adela de la Torre and Beatríz M. Pesquera, eds., Building with Our Hands: New Directions in Chicana Studies (Berkeley: University of California Press, 1993).
13. Dana Cloud, "The Materiality of Discourse as Oxymoron: A Challenge to Critical Rhetoric," Western Journal of Communication 58:3 (1994): 141-63. Lisa A. Flores, "Creating Discursive Space through a Rhetoric of Difference: Chicana Feminists Craft a Homeland," The Quarterly Journal of Speech 82:3 (1996): 142-56.
14. Dana Cloud, "The Materiality of Discourse as Oxymoron: A Challenge to Critical Rhetoric," Western Journal of Communication 58:3 (1994): 141-63. Lisa A. Flores, "Creating Discursive Space through a Rhetoric of Difference: Chicana Feminists Craft a Homeland," The Quarterly Journal of Speech 82:3 (1996): 142-56.
15. Norma Alarcón, "Chicana Feminism: In the Track of 'The' Native Woman," in Between Woman and Nation: Nationalisms, Transnational Feminisms, and the State, ed. Caren Kaplan, Norma Alarcón, and Minoo Moallem (Durham, N.C.: Duke University Press, 1999), 63-71.
16. Cornel West, "Introduction," in The American Evasion of Philosophy (London: The University of Wisconsin Press, 1989).
17. Pérez, The Decolonial Imaginary, 7, 6.
18. "To think... To act... Is to be alive," Regeneración 2:3 (1973): 36.
19. Discussed by Vicki L. Ruiz in "Enunciating Gender: Reclamation, Narrative, and Geneology in Chicana History," Latino Review of Books 3:1/2 (1997) : 40-41.
20. "Our Culture Hell!" is taken from Francisca Flores's article, "Conference of Mexican Women: Un Remolino," in Regeneración 1:10 (1971): 1-5. "Our Culture Hell: Feminism in Atzlán," is also the title of a paper prepared by Francisca Flores for the Pacific Coast Council on Latin American Studies Conference in California, Monterey, October 26-28, 1972. The essay criticizes social scientists for falsely reinforcing the idea that Chicana/o cultural values confine women to the home. See also a note by Marta Cotera in The Chicana Feminist (Austin: Information Systems Development, 1977), 62.
21. "Our Culture Hell!" is taken from Francisca Flores's article, "Conference of Mexican Women: Un Remolino," in Regeneración 1:10 (1971): 1-5. "Our Culture Hell: Feminism in Atzlán," is also the title of a paper prepared by Francisca Flores for the Pacific Coast Council on Latin American Studies Conference in California, Monterey, October 26-28, 1972. The essay criticizes social scientists for falsely reinforcing the idea that Chicana/o cultural values confine women to the home. See also a note by Marta Cotera in The Chicana Feminist (Austin: Information Systems Development, 1977), 62.
22. Leticia Hernandez, "Hijas de Cuauhtémoc," Regeneración 1:10 (1971): 9, as quoted in Mirta Vidal, "New Voice of La Raza: Chicanas Speak Out," in Chicanas in America, 1940-1974: A Chronology Fact Book, ed. Richard A. Garcia (Dobbs Ferry, N.Y.: Oceana Publications, 1977), 132-40.
23. Leticia Hernandez, "Hijas de Cuauhtémoc," Regeneración 1:10 (1971): 9, as quoted in Mirta Vidal, "New Voice of La Raza: Chicanas Speak Out," in Chicanas in America, 1940-1974: A Chronology Fact Book, ed. Richard A. Garcia (Dobbs Ferry, N.Y.: Oceana Publications, 1977), 132-40.
24. Bernice Rincón, "La Chicana: Her Role in the Past and Her Search for a New Role in the Future," Regeneración 1:10 (1971): 17.
25. CHICANA, 1979, directed by Sylvia Morales, based on a slideshow by Anna Nieto-Gómez. This is my description of the opening scene in the 1979 film CHICANA.
26. Anna Nieto-Gómez, "Chicanas Identify," Regeneración 2:1 (1971): 9.
27. Francisca Flores, "Comision Feminil Mexicana," Regeneración 2:1 (1971): 6.
28. Silvia Delgado, "Young Chicana Speaks Up on Problems Faced by Young Girls," Regeneración 1:10 (1971): 5. Francisco Flores, "What Is Reality?" Regeneración 1:10 (1971): 5. Ana Castillo, "La Macha: Toward a Beautiful Whole Self," in Chicana Lesbians: The Girls Our Mothers Warned Us About, ed. Carla Trujillo (Berkeley, Calif.: Third Woman Press, 1991).
29. Silvia Delgado, "Young Chicana Speaks Up on Problems Faced by Young Girls," Regeneración 1:10 (1971): 5. Francisco Flores, "What Is Reality?" Regeneración 1:10 (1971): 5. Ana Castillo, "La Macha: Toward a Beautiful Whole Self," in Chicana Lesbians: The Girls Our Mothers Warned Us About, ed. Carla Trujillo (Berkeley, Calif.: Third Woman Press, 1991).
30. Silvia Delgado, "Young Chicana Speaks Up on Problems Faced by Young Girls," Regeneración 1:10 (1971): 5. Francisco Flores, "What Is Reality?" Regeneración 1:10 (1971): 5. Ana Castillo, "La Macha: Toward a Beautiful Whole Self," in Chicana Lesbians: The Girls Our Mothers Warned Us About, ed. Carla Trujillo (Berkeley, Calif.: Third Woman Press, 1991).
31. Octavio Paz, The Labyrinth of Solitude: Life and Thought in Mexico, trans. Lysander Kemp (New York: Viking, 1985). Adelaida del Castillo, "Malintzin Tenepal: A Preliminary Look into a New Perspective," Encuentro Femenil 1:2 (1974): 58-77. Ralph Riccatelli, "The Sexual Stereotypes of the Chicana in Literature," Encuentro Femenil 1:2 (1973): 48-56. Richard Vasquez, "Chicano," in From the Barrio: A Chicana Anthology, ed. Luis O. Salinas and Lillian Faderman (San Francisco: Canfield Press, 1973), 119-28; John Steinbeck, Tortilla Flat (New York: Bantam Books, 1965); and Carlos Fuentes, A Change of Skin (New York: Farrar, Straus, and Giroux, 1968). The name, Mariana, describes women who attempt to emulate the holy virtues of a "good girl." See Cordelia Candelaria, "La Malinche, Feminist Prototype," Frontiers: A Journal of Women Studies 5:2 (1980): 2; and Norma Alarcón "Chicana Feminist Literature: A Re-vision through Malintzin/or Malintzin: Putting Flesh Back on the Object," in This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Women of Color Press, 1983), and "Traddutora, Traditora: A Paradigmatic Figure of Chicana Feminism," Cultural Critique 13 (1989): 57-87.
32. Octavio Paz, The Labyrinth of Solitude: Life and Thought in Mexico, trans. Lysander Kemp (New York: Viking, 1985). Adelaida del Castillo, "Malintzin Tenepal: A Preliminary Look into a New Perspective," Encuentro Femenil 1:2 (1974): 58-77. Ralph Riccatelli, "The Sexual Stereotypes of the Chicana in Literature," Encuentro Femenil 1:2 (1973): 48-56. Richard Vasquez, "Chicano," in From the Barrio: A Chicana Anthology, ed. Luis O. Salinas and Lillian Faderman (San Francisco: Canfield Press, 1973), 119-28; John Steinbeck, Tortilla Flat (New York: Bantam Books, 1965); and Carlos Fuentes, A Change of Skin (New York: Farrar, Straus, and Giroux, 1968). The name, Mariana, describes women who attempt to emulate the holy virtues of a "good girl." See Cordelia Candelaria, "La Malinche, Feminist Prototype," Frontiers: A Journal of Women Studies 5:2 (1980): 2; and Norma Alarcón "Chicana Feminist Literature: A Re-vision through Malintzin/or Malintzin: Putting Flesh Back on the Object," in This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Women of Color Press, 1983), and "Traddutora, Traditora: A Paradigmatic Figure of Chicana Feminism," Cultural Critique 13 (1989): 57-87.
33. Octavio Paz, The Labyrinth of Solitude: Life and Thought in Mexico, trans. Lysander Kemp (New York: Viking, 1985). Adelaida del Castillo, "Malintzin Tenepal: A Preliminary Look into a New Perspective," Encuentro Femenil 1:2 (1974): 58-77. Ralph Riccatelli, "The Sexual Stereotypes of the Chicana in Literature," Encuentro Femenil 1:2 (1973): 48-56. Richard Vasquez, "Chicano," in From the Barrio: A Chicana Anthology, ed. Luis O. Salinas and Lillian Faderman (San Francisco: Canfield Press, 1973), 119-28; John Steinbeck, Tortilla Flat (New York: Bantam Books, 1965); and Carlos Fuentes, A Change of Skin (New York: Farrar, Straus, and Giroux, 1968). The name, Mariana, describes women who attempt to emulate the holy virtues of a "good girl." See Cordelia Candelaria, "La Malinche, Feminist Prototype," Frontiers: A Journal of Women Studies 5:2 (1980): 2; and Norma Alarcón "Chicana Feminist Literature: A Re-vision through Malintzin/or Malintzin: Putting Flesh Back on the Object," in This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Women of Color Press, 1983), and "Traddutora, Traditora: A Paradigmatic Figure of Chicana Feminism," Cultural Critique 13 (1989): 57-87.
34. Octavio Paz, The Labyrinth of Solitude: Life and Thought in Mexico, trans. Lysander Kemp (New York: Viking, 1985). Adelaida del Castillo, "Malintzin Tenepal: A Preliminary Look into a New Perspective," Encuentro Femenil 1:2 (1974): 58-77. Ralph Riccatelli, "The Sexual Stereotypes of the Chicana in Literature," Encuentro Femenil 1:2 (1973): 48-56. Richard Vasquez, "Chicano," in From the Barrio: A Chicana Anthology, ed. Luis O. Salinas and Lillian Faderman (San Francisco: Canfield Press, 1973), 119-28; John Steinbeck, Tortilla Flat (New York: Bantam Books, 1965); and Carlos Fuentes, A Change of Skin (New York: Farrar, Straus, and Giroux, 1968). The name, Mariana, describes women who attempt to emulate the holy virtues of a "good girl." See Cordelia Candelaria, "La Malinche, Feminist Prototype," Frontiers: A Journal of Women Studies 5:2 (1980): 2; and Norma Alarcón "Chicana Feminist Literature: A Re-vision through Malintzin/or Malintzin: Putting Flesh Back on the Object," in This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Women of Color Press, 1983), and "Traddutora, Traditora: A Paradigmatic Figure of Chicana Feminism," Cultural Critique 13 (1989): 57-87.
35. Octavio Paz, The Labyrinth of Solitude: Life and Thought in Mexico, trans. Lysander Kemp (New York: Viking, 1985). Adelaida del Castillo, "Malintzin Tenepal: A Preliminary Look into a New Perspective," Encuentro Femenil 1:2 (1974): 58-77. Ralph Riccatelli, "The Sexual Stereotypes of the Chicana in Literature," Encuentro Femenil 1:2 (1973): 48-56. Richard Vasquez, "Chicano," in From the Barrio: A Chicana Anthology, ed. Luis O. Salinas and Lillian Faderman (San Francisco: Canfield Press, 1973), 119-28; John Steinbeck, Tortilla Flat (New York: Bantam Books, 1965); and Carlos Fuentes, A Change of Skin (New York: Farrar, Straus, and Giroux, 1968). The name, Mariana, describes women who attempt to emulate the holy virtues of a "good girl." See Cordelia Candelaria, "La Malinche, Feminist Prototype," Frontiers: A Journal of Women Studies 5:2 (1980): 2; and Norma Alarcón "Chicana Feminist Literature: A Re-vision through Malintzin/or Malintzin: Putting Flesh Back on the Object," in This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Women of Color Press, 1983), and "Traddutora, Traditora: A Paradigmatic Figure of Chicana Feminism," Cultural Critique 13 (1989): 57-87.
36. Octavio Paz, The Labyrinth of Solitude: Life and Thought in Mexico, trans. Lysander Kemp (New York: Viking, 1985). Adelaida del Castillo, "Malintzin Tenepal: A Preliminary Look into a New Perspective," Encuentro Femenil 1:2 (1974): 58-77. Ralph Riccatelli, "The Sexual Stereotypes of the Chicana in Literature," Encuentro Femenil 1:2 (1973): 48-56. Richard Vasquez, "Chicano," in From the Barrio: A Chicana Anthology, ed. Luis O. Salinas and Lillian Faderman (San Francisco: Canfield Press, 1973), 119-28; John Steinbeck, Tortilla Flat (New York: Bantam Books, 1965); and Carlos Fuentes, A Change of Skin (New York: Farrar, Straus, and Giroux, 1968). The name, Mariana, describes women who attempt to emulate the holy virtues of a "good girl." See Cordelia Candelaria, "La Malinche, Feminist Prototype," Frontiers: A Journal of Women Studies 5:2 (1980): 2; and Norma Alarcón "Chicana Feminist Literature: A Re-vision through Malintzin/or Malintzin: Putting Flesh Back on the Object," in This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Women of Color Press, 1983), and "Traddutora, Traditora: A Paradigmatic Figure of Chicana Feminism," Cultural Critique 13 (1989): 57-87.
37. Octavio Paz, The Labyrinth of Solitude: Life and Thought in Mexico, trans. Lysander Kemp (New York: Viking, 1985). Adelaida del Castillo, "Malintzin Tenepal: A Preliminary Look into a New Perspective," Encuentro Femenil 1:2 (1974): 58-77. Ralph Riccatelli, "The Sexual Stereotypes of the Chicana in Literature," Encuentro Femenil 1:2 (1973): 48-56. Richard Vasquez, "Chicano," in From the Barrio: A Chicana Anthology, ed. Luis O. Salinas and Lillian Faderman (San Francisco: Canfield Press, 1973), 119-28; John Steinbeck, Tortilla Flat (New York: Bantam Books, 1965); and Carlos Fuentes, A Change of Skin (New York: Farrar, Straus, and Giroux, 1968). The name, Mariana, describes women who attempt to emulate the holy virtues of a "good girl." See Cordelia Candelaria, "La Malinche, Feminist Prototype," Frontiers: A Journal of Women Studies 5:2 (1980): 2; and Norma Alarcón "Chicana Feminist Literature: A Re-vision through Malintzin/or Malintzin: Putting Flesh Back on the Object," in This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Women of Color Press, 1983), and "Traddutora, Traditora: A Paradigmatic Figure of Chicana Feminism," Cultural Critique 13 (1989): 57-87.
38. Octavio Paz, The Labyrinth of Solitude: Life and Thought in Mexico, trans. Lysander Kemp (New York: Viking, 1985). Adelaida del Castillo, "Malintzin Tenepal: A Preliminary Look into a New Perspective," Encuentro Femenil 1:2 (1974): 58-77. Ralph Riccatelli, "The Sexual Stereotypes of the Chicana in Literature," Encuentro Femenil 1:2 (1973): 48-56. Richard Vasquez, "Chicano," in From the Barrio: A Chicana Anthology, ed. Luis O. Salinas and Lillian Faderman (San Francisco: Canfield Press, 1973), 119-28; John Steinbeck, Tortilla Flat (New York: Bantam Books, 1965); and Carlos Fuentes, A Change of Skin (New York: Farrar, Straus, and Giroux, 1968). The name, Mariana, describes women who attempt to emulate the holy virtues of a "good girl." See Cordelia Candelaria, "La Malinche, Feminist Prototype," Frontiers: A Journal of Women Studies 5:2 (1980): 2; and Norma Alarcón "Chicana Feminist Literature: A Re-vision through Malintzin/or Malintzin: Putting Flesh Back on the Object," in This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Women of Color Press, 1983), and "Traddutora, Traditora: A Paradigmatic Figure of Chicana Feminism," Cultural Critique 13 (1989): 57-87.
39. Octavio Paz, The Labyrinth of Solitude: Life and Thought in Mexico, trans. Lysander Kemp (New York: Viking, 1985). Adelaida del Castillo, "Malintzin Tenepal: A Preliminary Look into a New Perspective," Encuentro Femenil 1:2 (1974): 58-77. Ralph Riccatelli, "The Sexual Stereotypes of the Chicana in Literature," Encuentro Femenil 1:2 (1973): 48-56. Richard Vasquez, "Chicano," in From the Barrio: A Chicana Anthology, ed. Luis O. Salinas and Lillian Faderman (San Francisco: Canfield Press, 1973), 119-28; John Steinbeck, Tortilla Flat (New York: Bantam Books, 1965); and Carlos Fuentes, A Change of Skin (New York: Farrar, Straus, and Giroux, 1968). The name, Mariana, describes women who attempt to emulate the holy virtues of a "good girl." See Cordelia Candelaria, "La Malinche, Feminist Prototype," Frontiers: A Journal of Women Studies 5:2 (1980): 2; and Norma Alarcón "Chicana Feminist Literature: A Re-vision through Malintzin/or Malintzin: Putting Flesh Back on the Object," in This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Women of Color Press, 1983), and "Traddutora, Traditora: A Paradigmatic Figure of Chicana Feminism," Cultural Critique 13 (1989): 57-87.
40. Sylvia Gonzáles, "La Chicana: Malinche or Virgin?" Nuestro (June/July 1979): 41-45.
41. Anna Nieto-Gómez, "Chicanas Identify," Regeneración 1:10 (1971): 9.
42. For more on the discussion of vendidas and agabachadas, see Alfredo Mirandé and Evangelina Enríquez, La Chicana: The Mexican-American Woman (Chicago: University of Chicago Press, 1979), 237.
43. Marta Cotera, "Mexicano Feminism," in Magazin 1:9 (1973): 31-32. Anna Nieto-Gómez, "La Femenista,"Encuentro Femenil 1:2 (1973): 34-47. Rincón, "La Chicana," Regeneración 2:4 (1975): 36-39.
44. Marta Cotera, "Mexicano Feminism," in Magazin 1:9 (1973): 31-32. Anna Nieto-Gómez, "La Femenista,"Encuentro Femenil 1:2 (1973): 34-47. Rincón, "La Chicana," Regeneración 2:4 (1975): 36-39.
45. Marta Cotera, "Mexicano Feminism," in Magazin 1:9 (1973): 31-32. Anna Nieto-Gómez, "La Femenista,"Encuentro Femenil 1:2 (1973): 34-47. Rincón, "La Chicana," Regeneración 2:4 (1975): 36-39.
46. For more on the views of "loyalists" see Nieto-Gómez, "La Femenista," 35.
47. Marta Cotera, "Mexicano Feminism," Magazin 1:9 (1973): 32.
48. Nieto-Gómez, "Hijas de Cuahtemoc," Regeneración 1:10 (1971): 9.
49. Flores, "What Is Reality?" 5.
50. Diane Drollinger, "Soy nada mas que una Chicana," Regeneración 2:3 (1973): 25.
51. See also Arlynn Nellhaus, "Family Tops List of Efforts as Chicanas Join Lib," Denver Post, June 4, 1971, page number illegible. For a rhetorical analysis of Aztlán as a discursive homeland, see Lisa A. Flores and Marouf A. Hasian Jr., "Returning to Aztlán and La Raza: Political Communication and the Vernacular Construction of Chicano/a Nationalism," in Politics, Communication, and Culture, ed. Alberto Gonzalez and Dolores Tanno (London: Sage Publications, 1997), 186-203.
52. See also Arlynn Nellhaus, "Family Tops List of Efforts as Chicanas Join Lib," Denver Post, June 4, 1971, page number illegible. For a rhetorical analysis of Aztlán as a discursive homeland, see Lisa A. Flores and Marouf A. Hasian Jr., "Returning to Aztlán and La Raza: Political Communication and the Vernacular Construction of Chicano/a Nationalism," in Politics, Communication, and Culture, ed. Alberto Gonzalez and Dolores Tanno (London: Sage Publications, 1997), 186-203.
53. Author name illegible, untitled, Regeneración 2:3 (1973): 18-19.
54. Cecilia Suarez, "Sexual Stereotypes," Regeneración 2:3 (1973): 17-21.
55. Sybil Venegas, "Conditions for Producing Chicana Art," ChismeArte 1:4 (1977): 2-4; and "The Artists and Their Work - The Role of the Chicana Artist," ChismeArte 1:4 (1977): 3-5.
56. Sybil Venegas, "Conditions for Producing Chicana Art," ChismeArte 1:4 (1977): 2-4; and "The Artists and Their Work - The Role of the Chicana Artist," ChismeArte 1:4 (1977): 3-5.
57. Sylvia Gonzalez, "La Chicana," and "The Two Fridas," Nuestro 3:5 (1979): 41; and Frida Kahlo sketch in "Chicana Service Action Center," Regeneración 2:1 (1972): 7. Salt of the Earth, directed by Michael Wilson, cited in "Salt of the Earth Revisited," People's World, May 1976, page number illegible.
58. Sylvia Gonzalez, "La Chicana," and "The Two Fridas," Nuestro 3:5 (1979): 41; and Frida Kahlo sketch in "Chicana Service Action Center," Regeneración 2:1 (1972): 7. Salt of the Earth, directed by Michael Wilson, cited in "Salt of the Earth Revisited," People's World, May 1976, page number illegible.
59. Sylvia Gonzalez, "La Chicana," and "The Two Fridas," Nuestro 3:5 (1979): 41; and Frida Kahlo sketch in "Chicana Service Action Center," Regeneración 2:1 (1972): 7. Salt of the Earth, directed by Michael Wilson, cited in "Salt of the Earth Revisited," People's World, May 1976, page number illegible.
60. Stuart Hall, "Cultural Studies and its Theoretical Legacies," Stuart Hall: Critical Dialogues in Cultural Studies, ed. David Morely and Kuan-Hsing Chen (New York: Routledge, 1996), 275.